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Book_ , P 3 



COPYRIGHT DEPOSITS 




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WATER-COLOR PA 



Complete Exposition of the Principles 
and 'Technique at the Present 
Advanced State of the 
Art, with a Treatise on Harmony, 
Applied to Painting. 



SALEM, OHIO. 
Published by the Author. 
1890 . 











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Hv AliFONS PEI iZKK. 


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INTRODUCTION. 


During the lastdecennium Water-Color Paint¬ 
ing has gained, because of its perfected technique, 
so important a position in Art, that in certain 
respects, and when applied to certain ends, it 
will compare favorably with Oil Painting. In 
England, especially, it has developed into a 
charming blossom. The English have essent¬ 
ially contributed towards this, by their perfect¬ 
ing the technical auxiliary materials. The En¬ 
glish pigments are, to the present day, unexcelled. 

'The reason that Water-Color Painting has 
attained so high a degree of perfection in En¬ 
gland, may perhaps be attributed to the natural 
position of the country. Surrounded by the 
ocean,clothed with the richest vegetation upon 
the most diverse formations of earth, England 
has developed in her people a warm and 



4 


decided appreciation of the beauties of land¬ 
scape. Her poets are almost without excep¬ 
tion, great landscape painters. They dwell long 
and lovingly upon their country’s scenery; they 
enter minutely into descriptions of her differ¬ 
ent aspects produced by the atmosphere, forma¬ 
tion of clouds, ect., etc. In this precisely, 
lies the great charm of Water-Color Painting. 

Air, light,and soft lustre are peculiar to it, far 
more so, than they are to painting in Oil. En¬ 
gland is a foggy and cloudy country, and this 
may be the reason too, that the English have 
so sedulously and successfully cultivated the art 
of Water-Color Painting. 

The chief requirement of Landscape Paint¬ 
ing is perspective of air and brilliancy. These 
can be produced with great facility in Water- 
Color: hence its technique is best adapted to 

«r 

Landscape. 

It is also an excellent medium for Portrait 
and Genre Painting. It is certainly the best 
of means for Flower Painting—since splendor 
of color, lustre and light are the principal re¬ 
quirements of this Art. 


5 

Success in producing a clear and brilliant sky 
depends very much upon the paper used: the 
surface of the paper must have a certain grain. 
In al Fresco Painting the brilliancy of light is 
produced, because of the rough lime-ground. 
In Oil-Painting the light is never so brilliant. 
In Water-Color Painting the color receives more 
transparency and vapor on the granulated paper 
and the impression of surface is destroyed. 
There are many technical advantages in Water- 
Color, when compared with Oil-Painting. For 
example, rapidity of labor. We can resume 
our work after short intervals, and even finish 
it without delay. In Oil-Painting however,we 
are at times obliged, to wait several days for 
the necessary drying out of the colors, before 
we can proceed further. 

Another advantage lies in the fewness and 
lightness of the necessary material in painting 
from nature. A camp-stool and a common 
umbrella, with cane to which it may be fastened, 
are all that is necessary our knees may serve 
as rest for the portfolio. 

The essential advantage of painting in Water- 


6 


Color, consists in the facility with which we can 
heighten, warm or subdue the tone of large 
parts of the picture. This is effected by ap¬ 
plying thin and broad washes of color. The 
drawing is not injured by it. By frequently 
washing off with clear water, we obtain that 
immateriality of impression and color which is 
peculiar to Water-Color. It must be borne in 
mind, howerer,that there are difficulties, which 
can be overcome only by cautiousness and skill. 
For example in the treatment of a very cloudy 
sky. In Oil-Painting large alterations are easily 
and frequently made without detriment to the 
canvas. In Water-Color they are often impos¬ 
sible, on account of the delicate surface of the 
paper. The sponge is in many cases a very 
good friend, but it is of no avail when the tex¬ 
ture of the paper has been injured, by too fre¬ 
quent and sharp rubbing. It is therefore, of 
the first importance, that the artist should know 
just what he is to do, and accordingly, work 
after a well defined plan. 


MATERIALS. 


The production of a work of Art, being hard 
enough in itself, it is very essential, to make 
a proper selection of materials, from the large 
mass, offered for sale. 

Of the greatest importance is the selection 
of the paper. Papers especially to be recom¬ 
mended for Water-Color Painting are: 

1 Whatman double elephant, extra thick. 

2 ' “ “ “ the thinner sort. 

3 Harding paper, thick and thinner. The 
latter, having a milder texture, invests, on 
account of this quality, the tones of the sky 
with a mild lustre. This paper is warm yellow¬ 
ish tinted, in opposition to Whatman’s paper. 

4 Creswick paper, a yellowish paper with a 
strong but a softer grain than Whatman’s papers. 
It is adapted for pictures of large size. ' 




8 


5 Griffin paper from Winsor (Sc Newton, 
the best, but the most expensive of all Water- 
Color papers. 

The Color best adapted for use, are the Moist 
Water-Colors, in little pans, prepared by Win¬ 
sor & Newton, of London. They dissolve at 
the slightest touch of the brush. The most 
used and tested as to durability are : 


1 Yellow Ochre. 

2 Indian Yellow. 

3 Mars Yellow. 

4 Cadmium Yellow. 

5 Gamboge. 

6 Raw Sienna. 

7 Rose Madder. 

8 Brown Madder. 
Light Red. 


14 Burnt Sienna. 

15 Vandyke Brown. 

16 Sepia. 

17 Brown Pink. 

18 Ivory Black or 
[Lamp Black. 

19 Olive Green. 

20 Emerald Green. 

21 Minium or Rouge 
[de Saturne. 

22 Permanent Chin- 
[ese White, 


9 — 6 

10 Indian Red. 

11 Cobalt. 

12 French Blue. 

13 Indigo. 

the latter, in tubes prepared by Winsor & New 
ton, of London, England. 

We must always avoid the following unfortu 


9 


nately very usual colors : 

1. Prussian Blue, darkens in a short time 
and swallows the colors mixed with it. 

2. Carmine, Crimson Lake, and Purple 
Lake, fade in a short time. 

3. Galls’tone, Dragon Blood, Hooker’s Green, 
Italian Pink and Scarlet. 

The best sort of brushes for Water-Color 
Painting are the round sable brushes in quills, 
and Camel-Hair brushes from Winsor & New¬ 
ton. Next in order are the brown marten 
brushes, enclosed in tin plate. They are dis¬ 
tinguished by greater elasticity and are very 
serviceable. 



MANIPfclLATieN. 


In order to work with comfort and cleanli¬ 
ness, the paper must be stretched on a board. 
The best is made of heavy paste-board. It does 
not warp, and can be easily carried. 

As for the brush, it must be pointed, when 
moistened with the mouth, and keep its point 
when passed over the paper. 

In putting on the color, we must guide the 
brush in only one direction, not hither and 
thither, but from left to right, and from above 
to below, sloping the board at an angle of 
about 45 degrees, so that a sufficient tendency 
may be given to the color to flow downwards. 

In putting on the colors, it is always best to 
use a large brush. 

In order to avoid making sharp edges in putting 
on large washes, we must put them on quickly, 


keep the lower margin always wet, the brush 
well filled with color, replenish before more is 
actually required, and apply the brush again, 
where the color is still wet. 

Should the brush be too full of color, place 
it gently upon a damp sponge, which will absorb 
the superfluous moisture ; blotting-paper will 
answer almost as well and even better, when 
the quantity is small. 

It is very essential that we use the colors 
very liquid and thin, and gradually increase the 
tone by repeated washes, to the desired strength. 
Through this gradual strengthening of the tone 
we obtain the etherial effect in the sky, the pores 
of the paper become better filled, and we insure 
great clearness and purity. Besides this, we 
can very easily modify the tone to our liking. 

The gradual increasing of the tone from the 
light to the dark is effected as follows: The 
first wash, we put on, must be very broad and 
its lower edge slowly decrease, the next less 
broad, and each succeeding one, becoming 
narrower and narrower and the lower edge, of 
each one, gradually decreasing. 


I 2 


The following example may explain, how a 
tone is to be gradually lessened: Suppose a 
wash we have put on in the background of a 
landscape, has to be lessened towards the fore¬ 
ground. Then take a brush with two ends, one 
of which is filled with color, and the other one 
moistened with water. After having put on the 
color, turn the brush and pass over the lower 
edge of the wash with the half-dry water brush, 
and let the tone gradually become fainter, as 
it were melting away into the white paper. Thus 
we can also soften dark and light tones into one 
another. 



f 


' I. 


PRINCIPLES. 


When the student does not obtain the desired 
effect in his picture, he often thinks the lack 
of success is owing to imperfectly applied tech¬ 
nique. In most cases however, the indistinct 
grasp of the impression of Nature is the cause 
of the technical means remaining inefficient. 
The technique must always spring from the 
artistic idea, and must be subordinated to it, 
just as in music the melody must never be 
smothered by the accompaning voices. We 
do not mean to say that a dexterous and skill¬ 
ful handling of the brush is entirely a secondary 
matter, it rather essentially contributes to invest 
the artistic idea, with a better expression, never 




14 


however should the artist show his work, instead 
of the idea. Rembrandt and Van Dyck, 
certainly, were great men of technique, but 
their masterly technique served but to express 
strongly the artistic idea. Genius lies not in 
the fingers, but in the head. 

Since the aim of theSe pages is to instruct the 
student, how to produce a finished and deeply 
felt picture, it is essential, that, before making 
attempts at producing objects in color, he should 
have the necessary practice in drawing, and a 
thorough knowledge of the forms of those ob¬ 
jects, for form and color are inseparable to the 
painter. With color he designs the form, not 
only according to the outline of the objects, but 
also according to the bent and direction of their 
local-tones, that is to say, the form must also be 
equally developed in the spaces between the 
outlines. 

All drawing and painting have originated from 
copying Nature, and this is their direct aim. 
’Therefore, Nature must be our principal teach¬ 
er. After the student has properly cultivated 
his asthetic sense, and assimilated a knowledge 


i5 

of the treatment of color, by copying from 
printed excellent studies, he should station him¬ 
self out doors and, with color-box in hand, en¬ 
deavor to imitate Nature as well as he can. The 
first studies from Nature should be limited to 
one subject; and gradually, after the student 
has obtained a knowlege of the different hues 
and tones, by studying its particular parts, he 
may venture upon more extensive practice. In 
studying from Nature, we obtain a practical 
knowledge of tone, after tone, we observe the ef¬ 
fect of light upon air, clouds and earth, and the 
constant change of colors and tones under its 
varying influence. Furthermore, in a far extend¬ 
ed sky, we watch the change of tones, lights and 
shadows, according to their distance. All this 
must be closely studied and noted down with 
color, for thereby we enrich our imagination 
and gain a treasure, that will supply us with the 
necessary material for our finished work at home. 

If the artist is to produce a finished picture 
from Nature, the gradual process of the work 
will be the same as that at home. This process 
will be explained in the following pages. But 


as a rule, the artist goes out doors to make stud¬ 
ies for the production of finished works. In 
this case, his aim is but to give the impression 
of Nature, that is the characteristic tones and 
values as distinctly and quickly as possible, and 
must therefore abstain from the higher and clear¬ 
er execution, essential to finished works of Art. 

If we would produce a sky, for instance,rich 
in colors, by repetition of thin washes, as is 
done in a finished work of Art, the existing ef¬ 
fect would have vanished before the different 
washes could dry. Therefore, in sketching from 
Nature, it is necessary to work with mixed tones 

of colors, to wash them together, and into one 
another. 

This will always give a sufficient result to 
build an independent work upon. This colored 
sketch, then, should always be the guide to an 
artist for all his finished works. In embellish¬ 
ing his subject, he should never travel too far 

from what was originally dictated to him by 
Nature, for thereby only will he invest his work 
with the charm of freshness, credibility and 
convincing reality, which we find in all import¬ 
ant works of Art, painted from Nature. 


C0h0R. 


ITS THEORETICAL AND PRACTICAL MEANING, 
WITH REMARKS ON IDEA, FORM, 
HARMONY AND CONTRASTS. 


In every painting we distinguish Idea, Form 
and Color, as its principal parts. 

The Poetry, the Idea is the animating, glori¬ 
fying soul of Art, and without it, no work of 
Art is possible. The painter must idealize what 
he sees, or in other words, he must paint, not 
only what he sees before him, but also what he 
sees within himself. 

Color and Form are often named together, as 
though they were essentially different, separable 
and equally valued parts of painting, This is 
not the case in reality,for all that we see is color. 




i8 

It is possible to see Color without Form. When 
we are standing on the top of a mountain, for 
instance, and looking into the clear, not yet 
starred evening-sky, or when we put our faces 
with closed eyes under the influence of the 
beams of the sun. In the first case we see form- 
less blue, in the second, formless orange. As 
soon as some more or less marked colors, lights 
or shades become visible, we have Form. We 
mean by this, however, but the bounds of the 
proportions of color in space. Accordingly, 
Color is original, Form added. The Color is 
felt, the Form will be understood; it is, as it were, 
a product of intelligence. Color is almost as 
necessary to man as light, warmth and food. Our 
daily life is woven of Color impressions. Every 
body knows what Color is, and yet, we are not 
able to explain its conception. 

Physics can not sufficiently explain it. It 
can only tell us how Colors originate. It ex¬ 
plains the qualities of Colors, for instance the 
swiftness of the colored ray of light, or the high¬ 
er or lower temperature of the colors, to which 
painting is indifferent. Painting only takes in- 


ig 


to consideration, how far Color affects the eye 
or minds-feeling, whether agreeably or unpleas¬ 
antly, harmoniously or discordantly. 

The Colors we use in painting, do not possess 
the purity of those, with which physics works, for 
the Colors of the latter, brought together by 
an optical instrument, the so called Spectrum, 
will produce the white ray, whilst the pigments 
of painting, mixed together in right proportions 
will give, at the most, a light grey. They are 
sufficiently pure and vivid, however, to answer 
all requirements. 

The theory of Color in painting is simple, 

clear and complete. It recognizes three primar 
or ground-colors, viz : Yellow, Blue and Red. 

The difference of these from the other colors is, 
that they cannot be produced by mixture, whilst 
all others can be obtained by mixture of the 
ground-colors. 

After these follow the secondary colors : 

Violet—Blue and Red. 

Orange—Red and Yellow. 

Green—Yellow and Blue, 
which can be modified into 


20 


Yellow-Orange, 

Red-Orange, 

Red-Violet, 

Blue-Violet, 

Blue-Green, 

Yellow—Green. 

These are followed by the twice mixed or 
textiary-colors, which, on account of their in¬ 
distinctness can hardly be named. The follow¬ 
ing names may correspond with their character; 
Moss-Yellow—Green and Orange. 
Brown-Red—Orange and Violet. 
Steel-Blue—Green and Violet. 

The colors arising from the mixture of the 
latter, have already a rather neutral tone. 
They could be named as : 

Neutral-Orange—-Moss Yellow and Brown- 
Red. 

Neutral-Green—Moss-Yellow and Steel-Blue. 
Neutral-Violet—Brown Red and Steel-Blue. 
The mixture of the three ground-colors pro¬ 
duces the neutral Grey. 

Each one of the three ground-colors is the 
natural contrast of the two others, or the com- 


21 


plementary color of them. A complementary 
color is one, which, when mixed with others, 
will give the three-toned Red, Blue and Yellow- 
Neutral. Every color therefore, mixed with its 
complementary color will produce Grey. 

The complement to Yellow is Violet, (Blue 
and Red.) 

The complement to Red is Green, (Yellow 
and Blue.) 

The complement to Blue is Orange, (Yellow 
and Red.) 

The extremes of the Neutral are Black and 

s 

White, full light and complete darkness. 

It is of great interest to the artist to seek the 
qualities by which the works of the great mas¬ 
ters are distinguished from all others, and to de¬ 
rive principles from these qualities, which must 
be more or less common to all. 

It would be a mistake to suppose that the 
use of especially vivid colors would be sufficient, 
to produce brilliant and impressive coloring. 
It would rather appear variegated and character¬ 
less, if these strong colors are not brought into 
harmony, and do not have the proper contrast. 


22 


for thereby colors receive value, just as the 
light becomes visible, only by the joining shade. 

It is, therefore, principally contrasts, upon 
which the effect of a picture depends. 

Besides the complementary contrasts are the 
general ones, as : light and dark, colored and 
colorless, transparent and opaque, moving and 
still, near and far, distinct and vague, material 
and immaterial, etc. 

Contrasts of this description we find in the 
simplest object of painting, as for instance in a 
figure or portrait, in which we distinguish flesh, 
cloth, attire and background. 

All contrasts must join and support one an¬ 
other, in order to invest the work with clear¬ 
ness, motive, variety and richness. 

In especial regard to contrasts of color, the 
first requirement must be harmony. Nature 
often obtains a softening of color contrasts in a 
charming way, by certain illuminations, for in¬ 
stance in sunset or sunrise,before or after a thun¬ 
der-storm. Then we have the impression of 
looking upon the world through a red-blue-and- 
yellow-stained glass. 


2 3 


Harmony is obtained in the first place by 
mixture of Red, Yellow and Blue, in nearly 
equal proportions, no matter whether we apply 
these colors separately or in mixture. This com¬ 
position is increased by the application of the 
Neutrals Black, White and Grey. 

The proportions of the colors to one another 
in regard to harmony, can scarcely be fixed by 
rules, nor can any rule be given for the propor¬ 
tions of their equivalents. Harmony dispenses 
with a special character, it is simply agreeable 
to the eye without producing any disquietude. 

Harmony is a luxurious monotone, produced 
by many elements of color and form, and 
varying to a warmer or colder, lighter' or 
darker general tone. 

The requirements of harmony were excellent¬ 
ly understood by the masters of the Orient. 

Their carpets and shawls, though produced 
with the most glowing colors, have the general 
impression of extraordinary mildness and deli¬ 
cacy. Besides this, we must admire the rich 
imagination of the masters of the East. We 
seldom find two or more of their carpets or 


24 


shawls, equal in colors and forms. When we 
glance from one to another, we are pleasantly 
surprised by the change of their colored ground 
tones. The forms also are so classic and man¬ 
ifold, that it is almost impossible to invent new 
ones, to equal them. Moreover, their pat¬ 
terns and figures never stand out from the sur¬ 
face. This is very essential for floor-coveriugs; 
for the floor is intented for comfortable walking 
and therefore, even the shadow of relief should 
be avoided. How disturbing and discordant 
from this effect the modern english carpets. 
Who would like to walk upon their natural 
shaped and colored flower-bouquets the plastic 
appearance of which is most disagreeable to us? 

Another very essential principle in painting 
is the avoidance of the so called simultaneous 
effects, those disagreeable ones which arise, 
when two ground-colors of equal strength in 
light and intensity are brought together. The 
impression produced upon the eye, is an irri¬ 
tating and disquieting one. This impression 
is considerably subdued however, if the intense 
colors are separated from each other, by a neut- 


2 5 


ral color, and very near to them, a third color 
appears, completing the three ground-color tones, 
but more so, if the light and intensity of one 
of the two vivid colors are subdued. 

The subdual of the strength of the light and 
intensity of the colors, and also the neutral 
tones, are the most effective means, because 
of contrasts, to obtain an expressive and pleas¬ 
ing coloring. Through their aid the strongest 
contrasts are forced into pleasing harmony. The 
neutral tones, intervening at the right place, 
enable the eye, which can not bear a .super¬ 
fluity of color, to enjoy the lustre of the other 
ones. The neutral tones are as bread to foods 
rich in spices. Its mild taste helps us to en¬ 
joy their savor. 

An essential item in painting is, furthermore, 
the observation of the difference in the local- 
colors, that is, in the colors which are peculiar 
to objects. Black velvet, for instance is darker 
than any black cloth ; gold is darker than silver, 
etc. The lights of a dark stuff must be suffi¬ 
ciently darkly accented, for thereby we obtain 
not only richness and freshness of color, but also 


26 


a proper realistic background, upon which we 
may display the charm ot Poetry. 



PAET II. 


PRACTICE. 


The most essential element of Landscape- 
Painting is Perspective, the rules of which 
must be expressed in lines, shadows and colors. 

It must be supposed that the student has 
made himself acquainted with the principles of 
Perspective and the practical application of 
them, before he endeavors to express them in 
color. This last shall be the object of the fol¬ 
lowing explanations. 

In Landscape-Painting it is mostly the 

AIR, 

which attracts our attention, for instance in the 
representation of the ocean, meadow-grounds, 




28 


moors, etc. It is to us the image of infinity. 
In it and its changes, our soul meets corres¬ 
ponding echos from the greatest serenity to the 
deepest melancholy. Because of its immaterial¬ 
ity, the air forms the strongest contrast to the 
solid earth and her tangible productions. The 
air therefore, no matter how cloudy it may be, 
requires, on account of its incorporal nature,to 
be treated differently from solid bodies. It must 
always be soft and vapory, even in its strongest 
contrasts. 

In a cloudless sky the transformation from 
one tone into another is not discernible. Light 
haze passes through the air in apparent arbitrar¬ 
iness, and seems to melt away into the ether : 
the shadows of the clouds are interwoven with 
lights and half-lights, which softly fade into 
them. Here the artist must be on his guard 
against sharplessness, whilst endeavoring to 
avoid sharpness. No matter how weak the 
clouds may appear, their forms and outlines 
must be closely watched, and so designed in 
the very beginning that the eye may distinctly 
discern them. It is the task of the artist to be 


2 9 


distinct in indistinctness. Unsurpassed in this 
respect are Claude de Lorrain, Rottmann and 
Stange. In their pictures, the Air-Perspective 
is carefully observed, their skies wave in bril¬ 
liancy and vapor, and yet the outline of the 
thinnest and most delicate cloud can be dis¬ 
cerned. 

In order to obtain this effect in Water-Color 
Painting, it is essential, that we use the colors 
for the air very liquid and thin, and that we re¬ 
peat these thin washes, until we get the tone of 
the desired strength. By this gradual strength¬ 
ening of the tones, we obtain most easily the 
necessary transparent etherial breadth. 

An example may more clearly explain the 
gradual process in producing a clear sky. 

PROBLEM I. 

THE PRODUCTION OF A CLEAR BLUE DAY-SKY. 

First mix a very thin tone of Yellow-Ochre and 
Brown Madder, and pass it over the whole pa¬ 
per. This tone increases the transparency of 
the sky. 


30 


After this first wash is quite dry, put on a 
very thin wash of pure Blue, Cobalt or Cobalt 
with a little Ultramarine, or Cobalt with a 
little Indigo, according to the clearness of the 
sky, and let it slowly grow fainter, adding clear 
water as it approaches the horizon. 

After this wash is quite dry, it must be gone 
over with clear water, using a large soft brush, 
which will take away all impurities and all color 
not firmly fixed to the paper. After the paper 
is dry again, increase the x tone by repeated 
washes, perhaps three or four, to the desired 
strength, so that it receives a gradation from 
the top towards the horizon; where it must en¬ 
tirely vanish. When the blue tone is produced 
faultless in its whole gradation, turn the board, 
slope it a little from above to below, so that the 
color may run better, and put on with a large 
brush a thin wash of Yellow Ochre at the hori¬ 
zon and let it slowly grow fainter towards the 
zenith. If necessary, increase the tone by re¬ 
peated thin washes and go over the whole paper 
with clear water between washes. 

Now mix a thin tone of Light Red and Rose 


Madder, put it on at the horizon and wash it 
down towards the middle ground of the sky. 
Use another tone of pure Rose Madder, very 
thin at the zenith and let it slowly soften down¬ 
wards. 

When all this has been effected without blurs, 
the sky will still look blue, but it has obtained 
the sunny breath of Nature, lost the impression 
of surface and gained that of convexity. 

According to the time of the day the Blue must 
gain or lose in power, and dimensions. At 
noon when it is the most intense, the yellow 
and red tones will be of the utmost delicacy. 
On the contrary, towards evening these latter 
will increase in strength and the blue will be¬ 
come fainter and fainter. 

It would be a foolish attempt to paint the un¬ 
covered sun in a clear sky, for what we cannot 
see without feeling pain in the eye we cannot 
represent with colors. The whole scale of col¬ 
ors, however becomes visible when the sun is 
covered with clouds, masses of vapor or mist. 
Then we see the effect upon ether, clouds and 
earth, and we only imagine the brightest point 


behind the clouds. Such scenes can be effect¬ 
ually imitated, and we can say that they are 
the perfection ot beauty and splendor, Nature 
presents. But to give their full effect, will be 
the hardest task, even for the most skillful and 
most talented artist. 

It is an easy thing to sketch all effects of Na¬ 
ture, so that we can see what it means, but to 
reproduce a sunset or a sunrise with their splen¬ 
dor and sublimity requires the highest degree 
of exertion of the artistic power. 

Directions for the technical reproduction of 
such scenes will always be inadequate. In a very 
plain subject we can explain the general dir¬ 
ections for a painting of a sunset. 

PROBLEM II. 

TO PRODUCE A CLEAR EVENING SKY, THE SUN 
OUTSIDE THE PICTURE, SHORTLY 
BEFORE SUNSET. 

Mix a light tone of Yellow-Ochre and Rose 
Madder or Brown-Madder, and wash it over 
the whole surface of the paper. Should the 


33 


Yellow-Ochre not be sufficiently bright, add a 
little Cadmium Yellow, a color of great value 
in sunset pictures. After this first wash has 
been put on, turn the board, and apply a thin 
wash of Brown-Madder from the horizon to a 
third ot the sky, and let it gradually decrease 
in strength. Then turn the board again, pre¬ 
pare two tones of color, one of pure Yellow 
Ochre and the other one of Yellow Ochre and 
Light Red. Then put on clear water from the 
zenith to the middle-ground of the sky, set into 
it the tone of Yellow Ochre, and into this, ap¬ 
proaching the horizon,the tone of Yellow Ochre 
and Light Red, using this tone entirely at the 
horizon. Then put on pure Cobalt over the 
upper part of the sky, and let it slowly soften 
towards the middle-ground, increase it, howev¬ 
er towards the top with Rose Madder. To the 
lower part of the sky, we give more depth and 
vapor, by a wash of Rose Madder and a little 
Chinese White. 

We must here again dwell upon the necessity 
of using clear water after each wash of color, 
for it is by this only,that we obtain the ethere¬ 
al breath of the sky. 


34 

The most luminous part of the sky is the mid¬ 
dle-ground. It consists of a weak yellow, and 
occupies but a very small space. The gradations 
from the middle-ground to the horizon are as 
follows: The pale Yellow of the middle-ground. 
Yellow, Orange, deep Orange and Red. From 
the middle-ground towards the zenith : the pale 
Yellow changing into a Sea Green, then into a 
broken Blue and Grey. In such a sky, the up¬ 
per part contains no Red, but becomes colder 
and more colorless, as it reaches the zenith. 
Shortly after sunset the lower part of the sky be¬ 
comes more opaque. In order to obtain this ef¬ 
fect, put on over lowest part of the sky,a tone of 
Cobalt with Rose Madder or Brown Madder, 
according to necessity, mixed with a little White, 
and let it slowly decrease in strength towards 
the middle-ground. 

PROBLEM III. 

TO PRODUCE A MISTY EVENING SKY, TOWARDS 
THE WEST. THE SUN IN THE THIRD 
PART OF THE SKY FROM ABOVE. 

Apply a wash of Yellow over the whole sur¬ 
face of the paper, commencing at the top with 


35 


Indian Yellow, very thin and gradually increas¬ 
ing this tone downwards with a mixture of In¬ 
dian Yellow and Yellow Ochre. Then draw 
the disk of the Sun, with pencil very lightly : 
prepare a very light tone of Mennige and Rose 
Madder, draw with water a finger thick circle 
around the Sun and put on the prepared tone 
over the whole paper, but so that it gradually 
softens into the water circle around the Sun. 

Now put on a wash of Brown Madder, from 
the horizon to the vicinity of the Sun, where it 
must slowly decrease. Then strengthen the 
two upper ends of the paper with a thin tone of 
Cobalt and let it vanish around the Sun and 
downwards where the tone of Brown Madder 
ended, so that a small space is left. After this 
has been done, put on at the horizon a wash of 
Cobalt, Rose Madder and a little White and let 
it decrease towards the zenith. By this tone, 
we obtain the opaque impression, peculiar to 
the lower part of the sky. 

In order to obtain effect, rub the Yellow out 
of the disk of the Sun with a sharp knife, so 
that it becomes entirely white, but so that 


3 ^ 

the light beams into the tone of the mist. 
This will produce a striking, but not disturbing 
effect. By light rubbing over the surrounding 
of the Sun with a soft leather or with pumice 
powder, the effect will gain delicacy. 

As for gray skies the principal colors will be 
Cobalt, Indigo, Sepia and Brown Madder in 
different proportions. 

CLOUDS. 

As yet we have spoken of clear skies only,and 
seen how the colored tones change according 
to the position of the Sun. In the following 
we will examine the influence of the Sun upon 
the clouds. 

Clouds, being an accumulation of vapor, the 
forms and outlines of which constantly change 
according to their density, height and distance 
or force of wind, it is very useful to draw the 
characteristic outlines with pencil, before apply¬ 
ing any color. 

Clouds are not to be regarded as surface; but 
as many retiring portions of the picture. Some 
appear as large solid masses with broad lights of 


37 


multitudinous forms in the particular parts. 
They are sometimes of such a softness, that 
their shadowed parts seem to melt away into 
the air behind. Others, very light clouds, as 
they especially appear in hot weather, in the 
upper part of the sky, have no shadow. 

All these kinds and their effects must be 
closely studied, and narrowly watched. Espec¬ 
ially must the change of the tones in lights and 
shadows ot clouds, as they recede into the dis¬ 
tance, be closely observed. They change entire¬ 
ly according to the distance. Whilst the clouds 
in the very foreground possess cold lights and 
warm shadows, the lights become warmer, ac¬ 
cording to their distance, until their tones in¬ 
crease, in the extreme distance, to Red. On 
the contrary, the shadows lose warmth in the 
same proportion,and pass over into a grey tone. 

PROBLEM lb. 

If we were to bring some clouds into a clear 
day-sky as described in Problem i, then we 
would proceed as follows. Mix first a tone of 
Yellow and Brown Madder, and put it on over 


38 

the whole paper. This tone not only increases 
the transparency of the air, but also softens the 
rawness and sharpness of the white lights in the 
clouds. After the outlines of the clouds have 
been lightly but carefully drawn, it is best to 
finish the blue first in its whole gradation. 
Then mix a thin tone of Cobalt and Light Red 
or Cobalt, Brown-Madder and Yellow-Ochre, 
and model the clouds with it, tinting at the 
same time their shadows. In some places, the 
tone must slowly decrease into the light. After 
this mix a second tone of Cobalt and Rose- 
Madder, or Cobalt, and Brown Madder or Co¬ 
balt, Brown-Madder and Sepia, for the deep¬ 
est parts of the shadows, according to their 
appearance, whether cold or warm. 

PROBLEM lib. 

If clouds are intended in a clear evening sky, 
the execution of which latter has been describ¬ 
ed in problem 2, it is not hard to bring them 
in, if they should be distinguished by a darker 
tone in all their parts, from the remainder. In 
this case for the tones of the light, the following 


39 


will serve according to their distance : 

Yellow Ochre, 

Yellow Ochre and Indian Yellow, 

Yellow Ochre and Light Red, 

Indian Yellow and Light Red, 

Light Red, 

Light Red and Rose Madder. 

A little permanent Chinese White may be 
added to the colors for the shadows of the clouds 
in order to give them a soft and vapory appear¬ 
ance. 

If the lights of the clouds are brighter than 
the ether behind them ; if there are very thin 
and light clouds in the upper part of the sky, 
they must be produced by washing out. For 
this we take a piece of thin paper, the best 
tracing paper, out of which we have cut a piece 
in the form of the light clouds, we put it on 
that part of the picture, in which we wish to 
have the light, and rub cautiously with a damp 
sponge over the open place in the paper. The 
light places, produced in this way have to be 
colored with a corresponding tint. These bright 
lights can also be produced in an other way. 


40 


We draw them with clear water, dry the wet 
places with blotting-paper, and pass over them 
boldly and sharply, with a silk handkerchief or 
washleather. 

In the execution of the clouds, the first wash 
must be very broad, the second less broad and 
each succeeding one narrower and narrower. 
'Thereby we obtain the effect of vapor in clouds. 
When the clouds have to be very indistinct, it 
is best to put on water first over the whole 
ether, and whilst still damp, pass over it the 
tone for the clouds, which can then be decreas¬ 
ed to the utmost softness. The tones for, the 
shadows are best applied when the paper is dry 
again. 

Should any large or small tone be too dark, 
then we pass water over it, take up the mois¬ 
ture with blotting-paper, and rub gently with 
bread-crumbs. 'This will take away all super¬ 
fluities, and at the same time produce an effect 
of grainulation. Washing off with clear water 
after each application of color, is generally 
sufficient to obtain this effect, but if a stronger 
grainulation is desired, bread-crumbs or very 


4i 


fine powdered and sifted pumice-stone may be 
rubbed over the sky with the fingers. This 
will produce a fine aerial effect and entirely re¬ 
move the impression that what we see is but 
mere washes. This method when carefully 
applied is one of the best to obtain the ethereal 
expression in a dark and very clouded sky. 

The sponge also can be applied with great 
advantage when used carefully and with skill. 
Before applying it, however, the whole part to 
be worked upon must be passed over with a 
large brush, charged with clear water, then the 
sponge must be used lightly in all directions, so 
that the color will not be taken off unequally. 
We must here again point out the necessity of 
using very thin washes of color in painting skies 
and especially clouds, for this alone insures 
clearness, purity, brilliancy and vapor. 

To obtain these effects, it is often advisable 
to use the colors separately, instead of mixed. 
Thereby we are more able to give any desired 
effect, to increase or subdue it as we wish, and 
to make the whole tone more transparent. 

'The task will be the hardest when the even- 


42 


ing sky is covered with many clouds, light and 
dark, which separate themselves from the ether. 
To give here definate directions how such a 
sky should be executed is hardly possible, as it 
depends too much on the comprehension and 
feeling of the artist for Nature. The best way 
in such cases will be to finish the blue of the sky 
first with repeated thin washes of Cobalt or In¬ 
digo before applying any other color. 

Grey skies are produced the most easily 
with Cobalt or Indigo, Sepia and Brown-Mad¬ 
der in different proportions. The lights of the 
clouds appear in pure White, that is in the tone 
of the paper. Lower waving clouds will have 
to be given again with a tone of Indigo, Sepia 
and Brown-Madder, and their shadows with 
Brown-Madder and Cobalt. The warmer tones 
at the horizon will have to be brought out with 
Yellow Ochre, Light Red and Indian Red. 

Grey and white skies form the most harmon¬ 
ious contrast to the manifold graduated green of 
a Landscape, and they are therefore of great 
importance in Landscape-Painting. According¬ 
ly this contrast of Green and Grey has been 


43 

used by some renowned artists in the most suc¬ 
cessful manner. They made use of Grey in 
the finest combinations, to invest the Green of 
the landscape and the strongly colored objects 
of the fore-ground with the highest lustre of 
reality. 

It remains yet to mention landscape in moon¬ 
light. Its nature is sentiment and on that 
account, moonlight as an artistic object stands 
very high. The conception depends of course 
entirely upon the peculiar sense and feeling of 
the artist. 

Regarding the technical execution it is ad¬ 
visable, in order to obtain the necessary depth 
of the air to use Indigo and Ivory Black, in¬ 
stead of Cobalt. Thin washes of French Blue 
will counteract the greenish appearance of In¬ 
digo. 

Finely conceived moon-light landscapes are 
often without effect, because of making the gen¬ 
eral tone of the air too dark in comparison 
with the solid objects of the foreground. The 
lack of effect can also be attributed to making 
the silvery edges of the clouds too bright. In 


44 

such cases the student does not take into consid¬ 
eration, that the disk of the moon has far brighter 
light than the brightest cloud. In painting 
moon-lights, we must be as economical of light 
as of depth. It will always be a practical rule 
to put on first over the whole picture, except 
the disk of the moon and its surrounding, a 
neutral tone equal in strength to the lights ot 
the brightest cloud. Into this put the tone of 
the ether with a thin wash of Indigo, excepting 
the places for the lights of the clouds. Streaks 
of vapor stand out light against the ether ; their 
shadows possess a warmer tone than the ether ; 
the clouds closest to the foreground have bright 
lights which decrease from a warmer middle- 
tone into the deepest dark-grey shade. Sepia 
with Brown Madder and Indigo can be success¬ 
fully used. For the deepest places add a little 
French Blue. The ether must be gradually 
strengthened with Indigo, Ivory Black and 
French Blue. 

It is of the greatest importance for the force 
of light in a moonlight-landscape that the 
brightness of the lights in the clouds should 


45 


gradually decrease towards the distance, that is 
farthest from the moon and that the shadows 
should become gradually lighter in the same 
ratio, so that in the extreme distance lights and 
shadows can scarcely be separated. 

DISTANCE. 

In the treatment of the distance we must first 
note the difference of the material on the earth 
from the ethereal of the sky and the vapor of 
the clouds. 

The distance and the air stand in close con¬ 
nection with each other. The distance often 
seems to melt away into the air. 

In order to obtain the ethereal effect of the 
distance we must apply the same colors we us¬ 
ed for the air, we thus obtain the best harmony. 
Cobalt, Rose Madder, Yellow Ochre, Light 
Red or Indian Red, instead of Rose Madder 
are almost always adequate. 

When the distance has a darker tone in gen¬ 
eral than the sky, it is always best to pass the 
tones of the sky over the distance first, or rather 
let the tones of the sky decrease into the dis- 


46 

lance of the landscape; then put into this tone 
the lightest tone of the distance and on this the 
shadows. 

Just as the shadows of the clouds become 
warmer towards the distance, until they receive 
an entire natural tone farthest off, so the shad¬ 
ows of a landscape are coldest in the distance 
and become warmest towards the foreground. 

In order to give to the shadows in the dis¬ 
tance the necessary vapory effect, it is well to 
mix a little White with the tone of Cobalt and 
Light Red, or Cobalt and Rose Madder, or 
Cobalt and Indian Red. Washing off the lower 
part of the sky and the distance is very essen¬ 
tial towards obtaining a soft and vapory effect. 

There are two golden rules in Water-Color 
Painting : ist to use the tones for sky and dis¬ 
tance as thin and broad as possible, and 2d to 
pass them over every object that is darker than 
themselves, for the under-tones assist the upper 
ones and not only impart air to them but also 
serve to break their brilliancy and rawness. 


47 

THE MIDDLE GROUND 


Is to be treated in the same way as the dis¬ 
tance. Here however we may use'thicker color 
with advantage. Since the middle-ground al¬ 
ready shows middle-tones, which become more 
varied, as they approach the foreground, it will 
be best to put on the lights of the objects first, 
and afterwards the shadows. A little White may 
be added to the tone for the latter, as they other¬ 
wise would appear too heavy and material. In 
painting the middle-ground, it is better not to 
pay attention to very small lights ; they should 
be produced afterwards, by taking off the color. 
The light places, made in this way, must then 
be painted over with a corresponding tone. By 
taking off the color we often obtain a better ef¬ 
fect than by simple washes, for texture and 
qualities are gained, and the papery appearance 
is entirely done away with. 

FOREGROUND. 

If for painting the sky, distance and often 
for the middle-ground of a landscape an an¬ 
imated feeling for Nature is sufficient, so is a 


4 8 

thorough knowledge of the forms of the objects 
we are to paint, the principal requirement for 
the execution of the foreground. The greater 
our knowlege of the forms of the objects is,the 
more boldly we can paint them. The accom¬ 
plished artist shows himself at his best in the ex¬ 
ecution of the foreground. Every object must 
be plastic, organic, tangible. 

Just as the forms of the clouds become more 
and more indistinct as they recede towards the 
distance, so the forms of the objects of a land¬ 
scape become gradually more distinct as they 
approach the foreground and appear as if we 
could take hold of them. The transition, how¬ 
ever from the universal to the particular must not 
be noticeable. In the foreground every object 
must receive its proper local-tone, that is the 
color which is peculiar to it. 

The peculiar charm of the fore-ground con¬ 
sists in brilliancy and force of colors without 
crudity and violent contrasts,and furthermore in 
the contrast which its plastic reality forms to 
the indistinctness and softness of the distance. 

In order to produce objects according to the 


49 


quality ot their surface, the brush must be used 
in another way than in painting the smooth, 
compact tones of the distance; the tones must 
be more porous, at the same time more uneven. 

A stony surrounding for instance, appears 
in the distance as a smooth compact tone, in 
the middle-ground we discern its coarseness,and 
in the immediate foreground the particular 
stones of which it is composed; in order to ob¬ 
tain this material effect in mass, we use the brush 
rather dry : we place it sideways upon the.paper 
and drag it lightly over it. The accidental 
forms which arise from this action must be 
somewhat shaded and the bare places filled out. 
Some lights which are not bright enough must 
be taken out with the sponge, handkerchief or 
knife and then printed over with a correspond¬ 
ing tone. In doing this we must be careful to 
express the rules of perspective, namely that 
the dimensions of objects must become gradu¬ 
ally larger according to their vicinity to the 
foreground. Masonry, old wood, large stones, 
trunks of trees, ect., which have more or less 
a course surface, must be produced in the same 


5 ° 

way, and can thus be brought to express utmost 
reality. 

Herbage in general can also be advantage¬ 
ously treated with the side of the brush. We 
must first wash on the local-tones as broad as 
possible and without regard to the particular 
form, then give the shadows as broad as possi¬ 
ble. After this place the brush sideways upon 
the paper and draw it lightly over it; then put in 
particular parts and take out the sharp lights of 
grass, runners and others. The taking out of 
the latter can be done best in the following way : 
draw with clear water, using a very pointed 
brush the light places of the grass, palms, etc., 
absorb the moisture with blotting-paper and rub 
the damp places boldly with a soft handkerchief 
or washleather. Where the light is not bright 
enough repeat this process and afterwards go 
over these places with a rubber. The lights so 
produced are then fit to receive any desired 
color. 

Indian Yellow and Indigo, 

Gamboge and Indigo or Cobalt 
Yellow Ochre and Indigo or Cobalt, 


5 1 


Brown Pink and Indigo, 

Raw Sienna and Indigo give a more or less 
light Green. 

Emerald Green is a very vivid one. 

Vandyke Brown and Indigo, 

Vandyke Brown and Gamboge give a broken 
Green. 

Gamboge, Burnt Sienna and Indigo, 

Indian Yellow, Burnt Sienna and Indigo give a 
warm Green. 

Cobalt and Naples Yellow, 

Cobalt and Naples Yellow and a little Em¬ 
erald Green give a cold Green. 

Further combinations for herbage in general 
are : 

Indian Yellow, Vandyke Brown and Indigo, 

Indian Yellow, Sepia and Indigo, 

Gamboge and Brown Madder, 

Olive Green, 

Olive Green, Burnt Sienna or Indigo, 

Gamboge and Sepia, 

Brown Madder and Cobalt or Brown Pink. 


TREES. 

One of the most essential features which in¬ 
vest a landscape with richness, charm and senti¬ 
ment is the tree in its various stages of growth. 
A strong foliage, water and a view into the 
distance, are elements which afford endless ser¬ 
ies of impressive compositions. The exterior 
of the various kinds of trees has its peculiar ef¬ 
fect upon the feeling and mind. The manly, 
bold and powerful appearance of the oak-tree; 
the oak-like, but less grand impression of the 
elm-tree with its singularly varied peculiarity ; 
the graceful pliability of the ash-tree, with its 
slender, smooth and perpendicular shaft; the 
slender growth of the alder; and the common 
willow-tree’s clumsy, uneven, knotty shape; the 
melancholy appearance of the willow ; the light- 
green foliage of the pliable birch-tree with its 
variegated stem, have all a strengthening influ¬ 
ence upon the sentiment of a landscape. All 
the peculiarities, as the trunk with its limbs, 
branches and thorns ; the form, position and the 
groups of the foliage are characteristically dif¬ 
ferent for every class of trees. 


53 


Out ot the more or less rectilineal, straight 
or crooked and uneven growth of the branches, 
(the skeleton of the trees) the foliage, (the mus¬ 
cles of the trees) spring forth characteristic, 
sometimes in compact masses, sometimes in 
delicate ends, and sometimes in bunches, brok¬ 
en through by the light. In he front parts of 
the foliage, we sometimes observe the peculiar 
shape of the leaves. In very far standing parts, 
in those which lie in the shade, these peculiari¬ 
ties will vanish more and more, and broad tones 
will appear instead. The plastic force of the 
tree is assisted by illumination, perspective and 
the characteristic outline. All the different kinds 
of trees and their characteristic mark must be 
well studied from Nature, and noted down on 
paper with pencil and color. This will repay 
us for our trouble, for we can draw from our 
treasure of sketches the necessary material for 
finished pictures in the atelier. 

Regarding technique, trees and foliage in 
general are most easily produced in the follow¬ 
ing way : Draw first lightly but accurately the 
principal parts of the foliage, the shaft and the 


✓ 


54 


limbs, then wash on the general tone for the 
lights over the whole tree, blit so that the outer 
parts, which are lighted through by the air are 
characteristically expressed from the very be¬ 
ginning. Then mark the trunks and branches 
with a light Grey-Brown tone of Sepia and Co¬ 
balt, and go over to the middle-tone. The lat¬ 
ter is rather warmer and more transparent than 
the tone of the lights. A light tone of Olive- 
Green and Indigo, for instance, would harm¬ 
onize with a middle-tone of pure Olive-Green. 
With this tone, model the light places in the 
same way, and cover with it the middle - tones 
as well as the shadows. Then strengthen the 
limbs with a deeper tone. The third tone for the 
proper shadows must be far more neutral than 
the middle-tone; perhaps Ivory Black or Indigo 
with Indian Red or Light Red with Cobalt. 
The reflections on the shaded side of the tree, 
which are proportionally colder, are produced 
by washing out and the light places, thus caused 
are painted over with a neutral tone, either In¬ 
digo or Cobalt with a small addition of a warm 
color; this is the gradual process in painting trees. 


55 

^ hen all these manipulations are made with 
knowledge of the forms, the tree, when seen 
from a distance, must already give a plastic im¬ 
pression. But there is still much to he done 
before it receives a perfectly plastic appearance. 
All the particular parts must he worked over 
and finished. Here however we must he care- 
tul not to display too richly the peculiar form 
of the leafs, especially if the tree is not placed 
in the immediate foreground. We must give 
only the general impression of the foliage upon 
the eye. For this it is best to treat the outer- 
form of the tree with the side of the brush, 
especially when the leafs appear thin, distribu¬ 
ted and indistinct. In order to give the tree a 
loose appearance, the groups of leafs and es¬ 
pecially the margin must be more finished in 
the details by shading and taking out some 
lights. The delicate lustre on the light parts 
will have to be produced by washing out with 
a sponge. Over these light places the tone of 
the air must be placed. Lastly all sharp 
edges must be softened with the moistened 
water-brush,so that the light gradually decreases 


5 6 

into shade, for thus the deepest places of the 
shades will gain strength. This latter must be 
produced with a dark Sap-Green, tor trees in 
the foreground. The green may be strength¬ 
ened in the deeper places with a brown tone; 
Brown Madder or Vandyke Brown. 

Indian Yellow with Indigo gives a fresh green, 
an addition of Burnt Sienna makes it warmer. 
Brighter yet is Gamboge with Indigo. 

It is self-evident that the colors of the trees 
must become less intense according to their 
distance. In painting trees it is very essential 
that we pay much attention to the trunk and 
limbs ; the former especially requires close study 
if we would make it appear natural and plastic. 

WATER. 

Nothing can heighten more the interesting 
beauty of a landscape than water. Through 
its movement and its quality of reflecting, it 
forms the natural contrast to the stiffness ol 
solid objects. According to its situation, sur¬ 
roundings and condition, water is an object of 
the highest artistic and romantic effect. The 


57 


poetical conception of course must be left to the 
artist’s feeling for Nature. Some practical rules 
however, can be given regarding technical exe¬ 
cution. 

A colorless, very still water reflects the objects 
with perfect accuracy in form, color and tone. 
Though reflection of this description is possible 
in Nature, it is not adapted to artistic effect, 
because through its perfect identity with the 
object it takes away from the main idea. 

When water has a darker local-tone, however, 
the reflection will be subordinated to the object 
and it will not strive for equal rank. If the water 
is a little disturbed, it will not cease reflecting, 
but the sharpness of the reflections becomes 
moderated, the outlines appear in a tremulous 
movement,running into one another,and woven 
with lights, which receive more or less the 
tones of the air, the lights and outlines lead over 
the surface of the water in a rather oblique di¬ 
rection, perspectively shortened. This gives 
the impression of space, the principal mean of 
effect in landscape-painting, and it shows the 
proper nature of the water,namely its liquidity. 


58 


A water, lightly disturbed by the wind should 
be executed as follows : first draw carefully with 
pencil the principal outlines of the reflected ob¬ 
jects, according to the rules ot perspective. The 
perspectively shortened lines of the reflections, 
which always show a rather oblique direction, 
must have the greatest dimensions in the fore¬ 
ground and must diminish more and more to¬ 
wards the distance. Then put on the local 
tone of the water, but lightly, making it grad¬ 
ually darker towards the foreground according 
to the weather, local tones for water are : 

Raw Sienna with Cobalt. 

Yellow Ochre with Cobalt and Vandyke 
Brown, 

Yellow Ochre with Cobalt and Rose-Madder. 

Vandyke Brown with Indigo, 

Cobalt. Indigo with Brown Madder. 

Cobalt, Sepia with Brown Madder. 

Then give the reflected objects their proper 
color, which must be a little more subdued than 
the tone of the objects and indicate at the same 
time the tremulous movement of the water; after 
this put on the middle-tones and shades of the 


59 


reflections, gradually strengthening them to¬ 
wards their beginning, so that the nearer they 
are to the object the more they resembleit, but 
do not attain the force and color of the object 
itself. 

When the lightly moved reflection is produced 
in this way, the lights have to be taken out and 
these painted over with the corresponding tone 
of the sky. The lights are often very bright 
and sharp and often slowly decreased into the 
ground tone. The more the water is disturbed 
the more the reflections disappear and instead 
of having the objects reflected we will have the 
air reflected. 

In fast running water the lights have the form 
and direction of waves, pushing one another 
forwards. The character of their forms depends 
then upon the current of the water, namely 
whether the water is flowing downwards or side- 
wards. These kinds of waves especially, must 
be closely studied, if we would imitate them 
satisfactorily. 

In painting greatly disturbed water or cascades 
which form masses of foam, it will be best to 


6o 


mark out the principal form of the latter and 
soften, improve or finish the outlines afterwards 
with a sponge, leather or knife. 

The perfectly still sea reflects the objects, 
like every still water, with perfect accuracy. A 
light wind produces light streaks which take the 
tones and colors of the higher parts of the skv. 
We often see the still sea with one or several dark 
streaks at the horizon, which resemble the tone 
of the zenith, a sign that the wind must be quite 
strong on that part of the sea. If in such a 
case the sun is situated in or above the picture, 
then these moving streaks will appear very 
bright, that is white. This is called in the art of 
painting the silvery glance of the sea. Accord¬ 
ing to the force of the wind, the whole scale of 
colors from the horizon to the zenith can be 
reflected in the moving streaks of the sea.Under 
a clear day-sky and with a light wind, the water 
appears blue; the stronger the wind, the darker 
will be the color of the water. 


THE GRADUAL PROCESS OF THE 
WORK IN A WATER-COLOR 
PAINTING. 


After this exposition of the particular parts 
of a landscape and their technical treatment, we 
will describe the gradual process of the work in 
painting a landscape in Water-Colors. 

The means furnished by our palette being so 
far inferior to those which Nature employs, it 
is necessary to use them with circumspection, 
that is, we must work from the very beginning 
after a definate plan. 

As we have previously mentioned, it is very 
essential to success in painting a far extended 
landscape or sky, that we go over the paper 
with clear water after each wash of color. It 
is for this reason, that we must finish the sky 
and extreme distance first; for, if we were to 
begin with foreground objects which project 
into the sky, as trees, houses, etc., their thick 
color would dissolve at the necessary washing 
off of the sky and distance and it would cause 


62 


impurity of the sky-tones. This would cause 
our throwing away the whole picture, for the 
delicate paper does not admit of large alterations. 

After the outline of the landscape has been 
carefully drawn with pencil,* put on first the 
usual first wash of Yellow Ochre and Brown 
Madder, but lightly. 

This tone is put on over the whole paper, 
except the white lights of the foreground, for 
these are in all cases positively lighter than the 
brightest lights of the clouds. When this has 

*It contribute very much to the effect of a picture if 
we fix the vanishing-point, and consequently the hori¬ 
zon too, in the third or fourth part of the height of the 
picture. It is also essential that we place ourselves at a 
proper distance from the object to be drawn, namely 
not too close to it and not too far off'. A too close point 
of view widens the perspective proportions too much, 
and a too distant point of view narrows them too much; 
a medium distance would be the right one. A certain 
measure for this distance in all cases can not be given. 
It is a rule however that if there is only one object to be 
presented in a picture, our place should be distant three 
times the height of the object. It is wrong for instance, 
to take our stand so close to a large house, which is to be 
drawn that its height is greater than its distance from 
our point of view. If there are several objects to be rep. 
resented in a picture, then this rule is applied to the 
object, that stands closest to the foreground. It is sup. 
posed however, that this object is a prominent one; it 
must measure at least thi-ee or five feet in length. All 
insignificant objects around it are not to be regarded, 
and tney must accomodate themselves to it. 

Ample Drawing Instructions will be found in a Con- 
pendiam for Drawing, which Ave shall publish in a few 
months. 


6 3 

been done begin first with the clouds and sky 
and finish them as well as possible, after this put 
on over the whole ground, except the brightest 
lights of the objects in the foreground, a light 
tone of Cobalt, Sepia and Light Red in half the 
strength of the ground-lights. Thereby we ob¬ 
tain distinction between earth and sky. Then 
put on the shadows of the objects with a neutral 
tone of Cobalt and Light Red in half the 
strength of reality, to make them out first of all 
as objects. If there are shadows of clouds on 
the ground of the landscape, wash them on with 
the same tone. 

By these few washes of color the earth is 
distinguished from the sky; the etherial from the 
material; the dark mass from the light. Now 
begins the exact coloring of the particular parts 
of the landscape. Every object must receive 
its local-tone, the trees their middle-tones and 
the darkest shades, the water, the corresponding 
tone of the sky and the reflections of objects. 
Wh en all this has been done we can see whether 
the sky is plastic enough or whether its blue 
or the shadows of the clouds have to be 


64 

strengthened. The last part of the work will 
he the proper finishing; the smoothing ot the 
sharp edges of colors with a moist water-brush; 
the taking out of sharp lights and the putting on 
of deep shadows, etc. 

The principle of this gradual process ot the 
work is to keep all parts of the picture in equal 
state of finishing, and not to weaken the total 
impression by premature perfection of particu¬ 
lars, We are to keep in view the total effect, 
and we will thus avoid mechanical painting. 

Suppose the problem is to be the execution 
of a flat surrounding, partly green and partly 
covered with heath; in the farther middle-ground 
the border of a forest draws along the right side, 
its last trees standing separated and affording a 
view into the distance ; in the foreground is a 
pond, at the border of which some herons are 
playing. The sun has just set, heavy vapors 
are lying in the distance; the earth receives no 
longer any beam of light, though day-light 
reigns upon her yet ; the sky however glitters 
with the warmest colors. Such scenes are of 
affecting grandeur. In such moments that feel- 


6 5 

ing of elegy and melancholy, which goes with 
the transition from day to night enters deeply 
into our souls. 

At no time of the dav are the contrasts be- 

j 

tween earth and sky so strongly expressed as 
before sunrise and after sunset. The whole 
effect then rests upon the dreamy and mysteri¬ 
ous harmony of large contrasts. 

The gradual process of the work in this prob¬ 
lem will be the same as that previously given. 
Above all the contrast between earth and sky 
must be forcibly expressed. After having wash¬ 
ed the first tones into the sky, put on a violet- 
grey tone of Cobalt, Brown Madder and Sepia 
over all of the ground, beginning at the horizon 
and making it weaker towards foreground by 
gradually adding clear water to it. This tone 
will give permanence to the deeper colors which 
we may apply over it, and it only serves to in¬ 
sure the proper proportion of darkness between 
earth and sky. 

After this tone has been put on, finish the 
sky, give all parts of the ground their local tones 
which must become more and more neutral- 



'> j 


66 


violet, according to the distance. Only in the 
immediate foreground do the colors appear in 
full reality. To the water give the correspond¬ 
ing tone of the sky and where it is disturbed, 
the tones of the higher part of the sky. 

The forest in the middle-ground must have a 
still deeper tone than the ground. This latter re¬ 
ceives some reflections from the sky. The 
deepest shadows in the foreground must be given 
with the warmest and fullest Brown. 

Vandyke Brown, 

Burnt Sienna, 

Brown Pink, 

Purple Madder as shades, to lights ot 
Indian Yellow with Indigo, 

Indian Yellow with Burnt Sienna, 

Indian Yellow with Light Red. 

Regarding the degree of force which is to be 
given to the colors in a Water-Color Painting. 

O O' 

we can not be too careful. It is a practical 
rule to begin in the distance with very thin tones 
and graduallv to increase them towards the fore- 
ground by repeated washes until we bring them 
to the desired strength. We must always keep 


< < ( 

( c 


67 

in mind the strength we need, in order to give 
the earthly objects the appearance of solid 
and material nature. The greatest strength must 
be reserved for a few well pondered places. 
I'he darkest shadow must possess one point 
that will be darker than all the rest. 

If we have dark places that are too large, 
they will appear as spots rather than as color. 

As the dark colors often do not appear deep 
enough when dry, we should gently rub with 
the finger a little linseed-oil over the darkest 
place and diffuse it about. It is not advisable 
to use gum-water instead of oil, for it causes 
glossy spots which have no transition to the 
other colors ; moreover it spoils the harmony of 
the picture. 

Lastly some remarks may be made here on 
the use of Chinese White in Water-Color Paint¬ 
ing. This pigment is rather frequently em¬ 
ployed and it is of great effect, when used in 
the right place. 

We have already seen in some instances that 
White is used in mixture with other colors. 
Here however the quantity we use must always 


68 


be very small. It can also be used as an opaque 
color with great advantage,and it is when used 
in the right place of great effect, especially tor 
the perfectly white places,those of a white local- 
tone in the very foreground. When furthermore 
in Herbage, for instance, in the very foreground 
the brightest lights do not appear prominent 
enough, we can draw them boldly and sharply 
with Chinese White and afterwards when it is 
perfectly dry we can put on a light Yellow or 
Green-tone, according to the local-tone of the 
object. But this must be done lightly and quick¬ 
ly, as otherwise the Chinese White would dis¬ 
solve. 

The most suitable color for such lights is 
Gamboge, either pure or brownish, mixed with 
Burnt Sienna, or greenish, mixed with Emer¬ 
ald Green or Indigo. Raw Sienna will also 
answer this purpose. 


END. 



ERRATA! 

Page 20—“Textiary colors” should read 
“tertiary colors.” 

Page 46—The sentence “Just as the shadows 
of the clouds become warmer towards the dis¬ 
tance, until they receive an entire natural tone, 
ect.,” should read, Just as the shadows of the 
clouds become colder towards the distance, un¬ 
til they receive an entire neutral tone, ect. 

Page 49—Should read “painted over” instead 
of “printed over.” 

Page 58—There should be a full stop after 
the word “foreground,” the word According 
beginning a new sentence. 











INDEX. 


PAGE. 

Introduction, - - - - -2 

f 

Materials, ----- 7 

Manipulation, - - - - io 

Par r I—Principles, - - - - 13 

Color, its theoretical and practical mean¬ 
ing, with remarks on Idea, Form, 
Harmony and Contrasts, - - - ! 7 

Part II —Practice, - - - - 27 

Air, - - - - - - -27 

Problem I, ----- 29 

Problem II, - - - - - - 32 

Problem III, - - - - - 34 

Clouds, - - - - - - 36 

Problem lb, - - - - 37 

Problem III), - - - - - 3cS 

Grey Skies, ----- 42 

Moon-Light, - - - - - 43 

Distance, - - - - - 45 

The Middle-Ground, - - - - 47 

Foreground, ----- 47 

Trees, - - - - - - - 52 

Water, - - - - - - 56 

The Gradual Process of the Work in 

a Water-Color Painting, - 61 













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